The 1975 - A Brief Inquiry Into Online Relationships (November 30, 2018) Album • Page 25

that's what gets me. it's like, i know there are far more men in the scene than women but it's definitely not even at that levels. and we won't get more women interested in playing in bands unless they see someone on stage that reminds them of themselves and motivates them to learn an instrument and join a band.

and, of course, making these women comfortable enough to even show up at these shows without being harassed or touched or hit

 

neither of those situations are as bad as what front porch step and JJR did, imo. Not saying they aren't bad but putting every instance of misdeeds on the same level (directly comparing pure noise to hopeless) instead of treating each case on its own terms does little to help in the long run

 

I have been hearing more female fronted bands getting radio play as of late. I've been listening to altnation on my way to work (got a free subscription with my new car).

Heard Pale Waves this morning as well as Wolf Alice not too long ago. There's still so much work to be done, but I think radio stations are taking steps in the right direction by diversifying who they play.

 

you always have the choice to be independant

idk about you but I would much rather work on my music myself than be backed by people who supported a pedophile and were super whack about it

 

bands and artists who are able to become big through complete independence are few and far between, and those who are able to maintain complete independence while making a good living either a. are aligned with shitty corporations (macklemore and a UMG distributor, chance and apple music, etc.) b. were signed to bigger labels before taking the completely independent route (dillinger escape plan were on sumerian prior to releasing their own albums, for example) or c. in the case of a band like circa survive who is now on hopeless, did the independent thing for one album cycle and couldn't continue feasibly being a band through those means and they had to move to sumerian and now hopeless. cant think of any really big truly independent artists on their own label releasing their own music that one of those scenarios doesnt apply to. the truth is, bands and artists who maintain complete independence, god bless them, aren't destined for longevity and burn out quickly in an industry that already burns you out quickly. its a sad but true reality that to make a life out of music you have to make sacrifices, and that includes ethical sacrifices. i dont fault any bands for being signed to an epitaph or hopeless or any other shitty label that has shitty people amongst their ranks because this industry chews you up and spits you out without a second thought, if you have to sacrifice some of your principles to stay afloat just a bit longer but otherwise are a vessel for good everywhere else you can be (thinking of bands like touche, pianos, joyce manor, converge, etc. who are signed to epitaph where ronnie radke is also signed) then go for it. i dont fault a band for doing that, i dont fault a band for leaving a label due to shit like that either obviously. point is, this industry is tough, and if you're independent across the board in every aspect of your music, unless you're extremely unreasonably lucky, you're not gonna be lasting long or making much from it. which is fine but theres no need for every band to relegate themselves to obscure bandcamp status imo.

 

idk if I buy that and I also don't buy that PN is the only label they could of signed to.

 

"idk if i buy that" is a bad counterargument. its not a counterargument at all actually. give me an example of a big completely 100% up and down independent artist if you dont buy it.


looks like counterparts signed to pure noise just before or just as all the front porch step stuff was happening (likely before, it was announced in april but probably happened a few months prior to actually announcing it). same goes for most of the bands on pure noise. a lot could be locked into multi album contracts

 

If you are big you get distributed by someone because that's what being big means idk how that's relevant. I think you are confusing being famous with being successful.

You can be a successful musician without being big, I am living off my music right now and I am not on a label. So I just don't buy the narrative that it was their only choice. If they were signed before / during the FPS thing than that's even worse because that means they were silent about their label mate.

I think that's just what a lot of bands think is their only option and is probably a big reasons these small labels even exist. A LOT of bands that get signed to labels and are still unsuccessful/still broke/still unknown.

 

I'm just saying that at the end of the day you have a choice of the people you work with and those choices reflect back onto you. Even if that was their only option to be a band, it's not like the members would die from not being in that specific band.

 

i dont really wanna ask how much you make a year off your music and if you have to supplement that income with something else because i feel its rude but im kind of curious so this is me asking in a roundabout way. maybe you can make a modest living doing everything yourself, but these grown musicians with families to feed? its rare to be able to do music and nothing else. and even then a lot of people on even decent sized labels have to work when they arent on tour. i would be genuinely curious to know how you make your living just off your music and maintain complete independence from top to bottom, if that's truly the case.

but for a lot of these musicians, being big goes hand in hand with being successful. some people want to spread their message as far and as wide as they can, and in a lot of cases that requires the help of an outside source such as a record label, management company, publicist, sponsor, whatever it is. and sure, its possible to get started on your own (many labels today wont even sign an artist unless they already have something of a fan base), but from what ive seen independent artists hit a wall where their fan base caps and then dwindles until they either have to sign/align with an outside source or they just disappear or stay in the bandcamp realm forever. like i said, perfectly fine and respectable for some artists, dont think every single artist should be relegated to that status because the reality is if you operate within the bounds of the "industry" (by all accounts, if you are overseeing every step of the process of your music you are not bound within the industry), you have to work with shady, exploitative, and just bad companies and/or people to stay afloat. and that industry machine will keep on grinding away with or without you in it, so if you want to take advantage to bolster your platform and use it for good in the long run, im okay with that.

as for bands already being on pure noise not saying anything being worse because they didnt say anything, you should understand that many recording contracts have clauses that wont allow the bands/artists to publicly disparage the label without facing consequences (being dropped and owing the label money for not fulfilling a contract, or just being fined, whatever it is).

 

just because something is fucked up doesn't mean you have to be too

 

operating within a fucked system does not make you fucked. i am not fucked for using a phone or any product made in a sweatshop with slave-like conditions even though im morally opposed to sweatshops

 

using a product is different than agreeing to be a product?

 

well if youre a "product" that is ultimately a force for good (so many of the bands in question on shitty labels use their large platforms to regularly speak out about and donate to great causes) then its even more justifiable than simply using a product

 

but in this case that's not true and therefor they are fucked which is exactly what I was saying in the first place

 

i dont know anything about counterparts and their politics or stances or history as a band. im speaking in general terms why i dont care if a band is signed to a shitty label anymore. i wasnt always like this and was very upset with pure noise and the bands signed to them at the time. in the last few years as ive become further radicalized in my politics i have realized boycotts generally dont work and every industry is shitty and exploitative and terrible and its near impossible (unless you're lucky) to exist in society without finding ways to operate within them while doing good work where you can (until the revolution baby!). just my two cents. my buck fifty. my quarter past

 

All I can add to this is that I've only made 14 dollars off of streaming and I'm jealous
:(

 

I mean it helps that I would never want to listen to any band on PN anyway because I find them all uninteresting so it doesn't really feel like a boycott more just like a "hmmmm.... gross!"

 

gates is one of the best bands in their genre pal

 

cmon buddy

 

I've only made 200 off streaming in my whole life, but that's not the only way!

 

ive made maybe 100 off my own music, probably a thousand off recording/mixing/mastering services

 

I'm sorry! not for me!

 

I would like to speak a bit on the counterparts thing as far as doing the right thing....they did kick out their drummer for being a piece of shit:

Counterparts drummer was kicked out for domestic violence

With a snippet here:
"I have been very thankful for the support I've received from my friends and family and for everyone who's stepped up and shown what amazing friends they are. I want to thank Brendan and the rest of Counterparts for being such advocates against domestic violence, they were just as surprised by this behaviour as I was."


Sorry if this keeps adding more pointless conversation but I thought it was relevant to the few posts above. The 1975 Off-season and NBA off-season are very similar.

 

good!